Tag: Page (Page 1 of 6)

PAGE Puls

Of late, Swedish poptronica duo PAGE have well and truly fallen under the spell of the imperial Synth Britannia era.

The releases in the last few years from Eddie Bengtsson and Marina Schiptjenko like ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’, ‘Start’, ‘Fakta För Alla’ and ‘Under Mitt Skinn’ have clearly been influenced by imperial phase ULTRAVOX, TUBEWAY ARMY, VISAGE and DRAMATIS.

‘Puls’ (‘Pulse’), an energetic track from their most recent album ‘Fakta För Alla’, gets a period makeover in a new video clip complete with waveforms. Recorded at Gothenburg’s Sticky Fingers last fall, it is made up of out-takes from a forthcoming live DVD naturally entitled ‘Fakta För Alla Göteborg’.

The track itself drops in a higher glam quotient with a stomping rhythm line and saw waves lined up in catchy phrases. Strings and soaring synths point to Billy Currie as a source of inspiration, but there is nothing derivative about the stylings.

With PAGE very much in the Moog, the ‘Under Mitt Skinn’ EP issued in June included a cover of Gary Numan’s ‘Tracks’, a Swedish version of which was on ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’. But the opening instrumental ‘Saint Anastase’ was fully in the vein of Vox ‘N’ Foxx.

Having adapted the ULTRAVOX B-side ‘Alles Klar’ as ‘Allt Är Klart’ previously with his SISTA MANNEN PÅ JORDEN project in 2007, these electronic pioneers are very much in the musical DNA of Eddie Bengtsson and this re-exploration of his roots has enabled him to produce some of the best work of his career which began with PAGE’s debut single ‘Dansande Man’ in 1983.


‘Puls’ is from the album ‘Fakta För Alla’ released by Energy Rekords as a CD and vinyl LP, available from https://hotstuff.se/page/x-7640

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/


Text by Simon Helm and Chi Ming Lai
31st August 2020

PAGE Under Mitt Skinn EP

PAGE, the Swedish poptronica trailblazers are back with a new EP entitled ‘Under Mitt Skinn’.

Releasing their first single in 1983, the duo of Eddie Bengtsson and Marina Schiptjenko is seen as the classic incarnation despite the line-up variations over the decades. In between her stints, Marina Schiptjenko joined Alexander Bard from ARMY OF LOVERS in VACUUM and then BWO, while front man Eddie Bengtsson had his ongoing solo mission SISTA MANNEN PÅ JORDEN but initially found fame with S.P.O.C.K.

Often been considered as Sweden’s answer to Vince Clarke, in 2017 Eddie Bengtsson publically expressed his despair at the state of new electronic music and how it was not enough to have just a single good song on a full length album. So for his end of year listing, he celebrated his influences which he considered to have stood the test time such as TUBEWAY ARMY, ULTRAVOX, THE HUMAN LEAGUE and the lesser known Anglo-Irish combo CUDDLY TOYS.

PAGE’s album from that year ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ featured a musically faithful cover of Gary Numan’s ‘Tracks’ in Swedish as ‘Spår’; it planted the seed for a more Numanesque sound but it was 2018’s ‘Start’ EP and the 2019 album ‘Fakta För Alla’ that saw PAGE totally get in the Moog.

‘Under Mitt Skinn’ includes ‘Tracks’ but also five new songs, three remixes and a cover curio. The opening ‘Saint Anastase’ acts as a mighty instrumental prelude in the vein of Vox ‘N’ Foxx, with hints of ‘All Stood Still’, ‘I Remember (Death In The Afternoon)’ and ‘Swimmer’ driven by a frantic neo-motorik beat. Having adapted ‘Alles Klar’ as ‘Allt Är Klart’ with SISTA MANNEN PÅ JORDEN in 2007, Bengtsson does another fine tribute in acknowledgement of Synth Britannia.

‘Under Mitt Skinn’ and ‘Hoppet’ both continue the Numan fixation which PAGE have explored on ‘Fakta För Alla’ and ‘Start’ with propulsive monosynth riffs, immersive vox humana and precise uptempo structures. But ‘Ta Det Som En Man’ plays with the ivory motif of ‘The Damned Don’t Cry’ and amalgamates it with ‘Fade To Grey’ for the ultimate VISAGE homage på Svenska.

Held together by a metronomic Compurhythm backbone, the clean simplicity of ‘Panik’ is its key, with some simple piano derived melodies and uncluttered strings, but alien distortion counterpoints to add tension. Less derivative and more like classic PAGE, this is the best of the new songs on this collection, although a sneaky ULTRAVOX warble odyssey at the end just cannot be resisted.

Eddie Bengtsson has often remarked that ‘Fakta För Alla’ is possibly the best work of his career and two of its tracks are reworked by others. ‘Blöder Du’ is percussively remixed by Svein Welde but remains moody and doesn’t lose its mystery. Meanwhile the Hacienda redux by Pierre of ‘Ljuden I Ditt Rum’ adds a baggy wah-wah feel which parties like it’s 1991 and even threatens to turn into the final section of THE STONE ROSES ‘I Am The Resurrection’!

The Side Order family redux of ‘Som Ett Skal’ from ‘Hemma’ however could have done without its irritating glitch stutters and this effect spoils an otherwise acceptable remix of what is now considered modern day PAGE’s signature song.

As a novelty bonus, Swedish industrial band INDEPENDENT STATE featuring John Westlund and Den Där Killen offer a synth punk cover version of ‘Lägger Av’ from ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’; it could be mistaken for a Nordic Plastic Bertrand and that more or less sums up its playfully enjoyable nature.

‘Under Mitt Skinn’ will more than satisfy PAGE fans and enthusiasts of elektronisk pop who have enjoyed the run of enjoyable releases since ‘Nu’ in 2010. But while the dynamic vintage overtures of Billy Currie, Gary Numan and John Foxx are still very much omnipresent on this EP, there are signs through the five new tracks that this influence may be steadily evolving into another phase for Marina Schiptjenko and Eddie Bengtsson.


‘Under Mitt Skinn’ is released by Energy Rekords as a CD, available from https://hotstuff.se/butik/cd-page-under-mitt-skinn-ep-foldout-digipack-cd-limited-edition-300-copies/76383

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

https://open.spotify.com/album/6joc62sEjHePUv0ZRncgN1


Text by Chi Ming Lai
6th June 2020

Ten Years Of TEC: STILL PUSHING THE ENVELOPE

The Electricity Club celebrates its tenth birthday and it really has been synthly the best.

At the HEAVEN 17 aftershow party for their triumphant gig at The Magna Science Park on 6th March 2010, following chats with Glenn Gregory, Martyn Ware, Paul Humphreys and Claudia Brücken, interview opportunities opened up.

It was obvious there was gap waiting to be filled for a quality web publication that featured the best in new and classic electronic pop without having to lower itself to using the dreaded “80s” label. The Electricity Club was it and became reality on 15th March 2010.

Electronic pop music didn’t start in that Thatcher decade and certainly didn’t end there either. So there was even an editorial diktat which banned The Electricity Club’s writers from using the lazy”80s” term as a reference. Tellingly, several PR representatives said that one of the site’s main appeals was that it avoided the whole nostalgia bent that had been presented by both virtual and physical media.

At the time, kooky female fronted keyboard based pop like LA ROUX, LITTLE BOOTS, LADYHAWKE, LADY GAGA and MARINA & THE DIAMONDS were among those touted as being the future at the time. But it proved to be something of a red herring, as those acts evolved back into what they actually were, conventional pop acts.

The Electricity Club preferred the sort of innovative synthpop as outlined in BBC4’s Synth Britannia documentary with the next generation of artists like MARSHEAUX, VILE ELECTRODES, VILLA NAH and MIRRORS more than fitting the bill and that ethos of featuring pop music using synthesizers stuck too.

Meanwhile, The Electricity Club’s portfolio expanded swiftly with key personalities such as Rusty Egan, Sarah Blackwood, Richard James Burgess, Warren Cann, Chris Payne, Thomas Dolby, John Foxx, Andy McCluskey, Neil Arthur, Alan Wilder, Mark Reeder, Gary Langan, Jori Hulkkonen, Howard Jones, Mira Aroyo, Sarah Nixey and Hannah Peel among those giving interviews to the site during its first two years.

The Electricity Club has always prided itself in asking the questions that have never usually been asked, but which fans want to know the answers to. And it was with this reputation for intelligent and well researched interviewing that in March 2011, the site was granted its biggest coup yet.

Speaking to Stephen Morris of the then-on hiatus NEW ORDER, the drummer cryptically hinted during the ensuing chat that Manchester’s finest would return by saying “I never say never really”; and that is exactly what happened in Autumn of that year and the band have been there since, as popular as ever and still making great music with the release of ‘Music Complete’ in 2015.

Monday 21st March 2011 was an interesting day that partied like it was 1981 when it saw the release of albums by DURAN DURAN, THE HUMAN LEAGUE and JOHN FOXX & THE MATHS. Also in 2011, Mute Records celebrated their influential legacy with a weekender also at London’s Roundhouse which culminated in ERASURE, YAZOO and THE ASSEMBLY performing in the same set.

Despite the ‘Brilliant’ return of ULTRAVOX, 2012 paled in comparison after such a fruitful year and several acts who were featured probably would not have gained as much coverage in more competitive periods. With pressure from outsiders as to what was hot and what was not, this was the only time The Electricity Club felt it was obliged to support a domestic scene.

But realising acts like HURTS and STRANGERS were actually just jumping on an apparent synth bandwagon and possessing more style than substance, The Electricity Club decided to change tact and only featured acts it felt truly passionate about, even if it meant upsetting the wider synth community. The reasoning being that just because a band uses a synthesizer doesn’t mean it is good.

During this time, MIRRORS sadly disbanded while VILLA NAH mutated into SIN COS TAN. But the year did see the launch of CHVRCHES who stood out from the crowd with their opening gambit ‘Lies’. With their Taylor Swift gone electro template, Lauren Mayberry and Co managed to engage an audience who didn’t know or care what a Moog Voyager was, to listen to synthpop!

2013 turned out to be one of the best years for electronic pop since its Synth Britannia heyday. What The Electricity Club achieved during this year would take up a whole article in itself… there were high profile interviews with Alison Moyet, Gary Numan and Karl Bartos while OMD released the album of the decade in ‘English Electric’. PET SHOP BOYS made up for their ‘Elysium’ misstep with ‘Electric’ while there was finally a third volume in BEF’s ‘Music Of Quality & Distinction’ covers series.

Although 2014 started tremendously with The Electricity Club being invited to meet Karl Bartos and Wolfgang Flür in Cologne, the year suffered next to quality of 2013.

The interviews continued, particularly with key figures from the Synth Britannia era including Midge Ure and the often forgotten man of the period Jo Callis who was a key member of THE HUMAN LEAGUE during their imperial phase.

But the year saw grandeurs of delusion at their highest, with one artist of a far too normal disposition in particular failing to realise that in order for a crowdfunding campaign to succeed, they needed to actually have quite a few fans in the first place!

Then, there was the similarly clueless Alt-Fest debacle which saw the organisers play Fantasy Festival with no cash to underwrite the infrastructure to enable it to actually happen!

Sadly today, there are still egotistic chancers organising events with zero budget and the money from ticket sales being fleeced to fund their holidays. But these artificial factors are rarely considered and so long as there are lower league artists desperate to play for nowt and a misguided enhancement in profile that is often on a platform that provides minimal exposure anyway, then the confidence tricks will continue.

2015 saw the local emergence of Rodney Cromwell and Gwenno, while the majestic Swedish duo KITE proved that they were the best synth act in Europe with the ‘VI’ EP and their impressive live show.

It was also the year when ERASURE front man Andy Bell gave his first interview to The Electricity Club to offer some revealing insights.

Making something of a comeback after a recorded absence of nearly eight years, Jean-Michel Jarre presented his ambitious two volume ‘Electronica’ project which saw collaborations with a varied pool of musicians including Pete Townsend, Lang Lang, John Carpenter, Vince Clarke, Hans Zimmer, Cyndi Lauper, Sebastien Tellier and Gary Numan.

VILLA NAH returned in 2016, as did YELLO with Fifi Rong as one of their guest vocalists while APOPTYGMA BERZERK went instrumental and entered the ‘Exit Popularity Contest’. Riding on the profile generated from their ‘A Broken Frame’ covers album, MARSHEAUX released their biggest-selling long player to date, a two city concept in ‘Ath.Lon’. This was also the year that The Electricity Club first became acquainted with the analogue synthesizer heaven of Johan Baeckström, a modern day Vince Clarke if ever there was one.

2017 saw a bumper crop of great albums from the likes of I SPEAK MACHINE, LCD SOUNDSYSTEM, SOULWAX, IAMX, GOLDFRAPP and DAILY PLANET, while veterans such as Alison Moyet and Gary Numan produced their best work of the 21st Century.

However DEPECHE MODE unleashed their most dire record yet in ‘Spirit’, a dreary exercise in faux activism bereft of tunes. Salt was rubbed into the wound when they merely plonked an underwhelming arena show into a stadium for their summer London show.

The trend was to continue later in 2019 as DEPECHE MODE just plonked 14 albums into a boxed set, while OMD offered an album of quality unreleased material in their ‘Souvenir’ package.

And with DEPECHE MODE’s sad descent into a third rate pseudo-rock combo during the last 15 years to appease that ghastly mainstream American institution called The Rock and Roll Hall Of Fame with guitars and drums, Dave Gahan in particular with his ungrateful dismissal of the pioneering synth-based material with which he made his fortune with, now has what he has always coveted.

And don’t get The Electricity Club started on the 2019 Moog Innovation Award being given to Martin Gore, a real insult to true synth pioneers if ever there was one, including Daniel Miller, Vince Clarke and Alan Wilder, the three men who actually did the electronic donkey work on those imperial phase DEPECHE MODE albums! Gore may have been a very good songwriter during that time, but a synth innovator? Oh come on!?!

With regards Synth Britannia veterans, new albums in 2017 from Richard Barbieri and Steve Jansen saw a revived interest in JAPAN, the band with which they made their name.

Despite releasing their final album ‘Tin Drum’ in 1981, as a later conversation with one-time guitarist Rob Dean proved, cumulatively from related article views, JAPAN became the most popular act on The Electricity Club.

The return of SOFT CELL dominated 2018 with a lavish boxed set that was not just comprised of previously released long players, new songs, new books, a BBC documentary and a spectacular farewell show at London’s O2 Arena.

Meanwhile, adopting a much lower profile were LADYTRON with their comeback and an eventual eponymous sixth album. A Non Stop Electronic Cabaret saw Canadian veterans RATIONAL YOUTH play their first ever UK gig alongside PAGE and PSYCHE, but coming out of Brooklyn to tour with ERASURE was REED & CAROLINE.

EMIKA was ‘Falling In Love With Sadness’ and Swedish songstress IONNALEE showcased one of the best value-for-money live presentations in town, with a show that surreal imagined Kate Bush at a rave!

But from China came STOLEN, one of the most exciting bands in years who were then later rewarded for their graft with a European tour opening for NEW ORDER.

2019 was the year when synthwave graduates Dana Jean Phoenix and Ollie Wride were coming into their own as live performers, while electronic disco maestro Giorgio Moroder embarked on a concert tour for the first time with his songs being the true stars of the show.

Gary Daly of CHINA CRISIS gave his first interview to The Electricity Club to tie in with his solo album ‘Gone From Here’, while a pub lunch with Mark White and Stephen Singleton mutated into an extensive chat about their days in ABC. Lloyd Cole adopted a more synthesized template on ‘Guessworks’ and Britpop went synth as GENEVA’s Andrew Montgomery formed US with Leo Josefsson of Swedish trio LOWE.

If The Electricity Club does have a proudest achievement in its first ten years, then it is giving extensive early coverage to VILLA NAH, MIRRORS, VILE ELECTRODES, METROLAND, TINY MAGNETIC PETS and SOFTWAVE, six acts who were later invited to open on tour for OMD.

Partly because of this success, some of those who were less talented felt aggrieved despite feeling a narcisstic entitlement to be featured. A few deluded artists even went as far as to blame The Electricity Club publically for their lack of traction! NoW that’s what The Electricity Club calls deluded!

If an act is good enough, the fact that The Electricity Club hasn’t featured them should not matter, especially as other electronic and synth blogs are available. After taking its eye of the ball once before in 2012, The Electricity Club maintained a trust of its own gut instinct.

Meanwhile, its stance has been tested by those shouting loudest who instantaneously champion what they perceive as the next big thing like sheep, without really looking ahead at a wider picture. However, TRAVIS on VSTs is just not The Electricity Club’s thing frankly…

The Electricity Club’s participation in the annual ELECTRI_CITY_CONFERENCE in Düsseldorf for on-stage interviews with Rusty Egan, Chris Payne, Mark Reeder and Zeus B Held was another high profile engagement to be proud of. Then there were six TEC branded live events and five rounds of hosting ‘An Audience with Rusty Egan’ in one of the most unenviable but highly entertaining refereeing assignments in music 😉

Other highlights over the last ten years have included The Electricity Club’s 2015 career retrospective on German trio CAMOUFLAGE being edited and used as booklet notes for the Universal Music sanctioned compilation CD ‘The Singles’.

There was also ‘The Electricity Club’ 2CD released by Amour Records in 2019 which included TEC featured acts like MESH, SECTION 25, SIN COS TAN, KID KASIO, NIGHT CLUB, QUIETER THAN SPIDERS, ELECTRONIC CIRCUS, DAYBEHAVIOR, LIEBE, TWINS NATALIA, KID MOXIE, GIRL ONE & THE GREASE GUNS, ELEVEN: ELEVEN, AUTOMATIC WRITING, FOTONOVELA and QUEEN OF HEARTS among its 34 excellent tracks, including a bangin’ MARSHEAUX remix of Katy Perry!

As 2020 settles in, highly regarded artists within the electronic community continue to engage with The Electricity Club. Neil Arthur recently gave his seventh interview as BLANCMANGE and his tenth interview overall, taking into account his side projects FADER and NEAR FUTURE. Not far behind, Martyn Ware has also been a regular interviewee having spoken to the site on six occasions while Paul Humphreys has been interviewed no less than five times.

The Electricity Club is still pushing the envelope, continuing to reflect the interests of people who love the Synth Britannia era and have a desire to hear new music seeded from that ilk. With artists like ANI GLASS, IMI, KNIGHT$, NINA, MECHA MAIKO, GEISTE and PLASMIC among those on the cusp of a wider breakthrough, there is still more excellent music still to be created, discovered and savoured.

One inferior revivalist platform featuring far too much normal rubbish once complained that The Electricity Club “only feature bands that are popular…”; what they actually mean is “only feature bands that are really good”! 😉

The Electricity Club gives its sincerest thanks to everyone who has taken the time read any article on the site over the last ten years, it is greatly appreciated.


‘The Electricity Club’ is released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records as a 34 track 2CD set in a deluxe 6 panel digipak with track-by-track commentary and ‘O’ card; the compilation be purchased from the following retailers:

Europe http://www.poponaut.de/various-artists-electricity-club-p-18056.html

North America https://stormingthebase.bandcamp.com/merch/various-the-electricity-club-2cd

The tracklisting is:

CD1

01 MAISON VAGUE Synthpop’s Alive
02 KID KASIO Full Moon Blue
03 ELECTRONIC CIRCUS Roundabout
04 DAYBEHAVIOR It’s A Game (Marsheaux remix)
05 MARNIE The Hunter
06 ELEVEN:ELEVEN Through The Veil
07 NIGHT CLUB Cruel Devotion
08 QUEEN OF HEARTS United
09 KATY PERRY Hot ‘N’ Cold (Marsheaux remix)
10 ERASURE Be The One (Paul Humphreys remix)
11 KID MOXIE The Bailor
12 KEEP SHELLY IN ATHENS Oostende
13 FOTONOVELA featuring JAMES NEW Our Sorrow (Original mix)
14 GIRL ONE & THE GREASE GUNS Jessica 6
15 AUTOMATIC WRITING Continuous
16 METROLAND Thalys (London Edit)
17 RODNEY CROMWELL Black Dog

CD2

01 SIN COS TAN Trust
02 POLLY SCATTERGOOD Other Too Endless (Vince Clarke remix)
03 TENEK What Do You Want? (Alternate TEC version)
04 ANALOG ANGEL We Won’t Walk Away
05 ARTHUR & MARTHA Autovia
06 MARSHEAUX Suffer The Children
07 SECTION 25 My Outrage
08 047 featuring LISA PEDERSEN Everything’s Fine
09 TAXX Is It Love?
10 LIEBE I Believe In You
11 QUIETER THAN SPIDERS Shanghai Metro
12 iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound
13 TWINS NATALIA Destiny
14 MESH Tuesday
15 MIRRORS Between Four Walls
16 OMD Time Burns (Fotonovela rework)
17 VILE ELECTRODES Deep Red

Please note this product is NOT on sale through The Electricity Club website and only via retailers


Text by Chi Ming Lai
Image Design by Volker Maass
16th March 2020

JULIAN & MARINA For Beautiful People Only

’For Beautiful People Only’ is the second full-length album from JULIAN & MARINA, the follow-up to 2014’s ’Absence & Distance’.

Comprising of Julian Brandt and Marina Schiptjenko, the couple are both veterans of the Swedish pop scene. Brandt was a member of BOBBY and is the current bass incumbent in LUSTANS LAKEJER while Schiptjenko is best known for her instrumental roles in PAGE and BWO.

The concept of JULIAN & MARINA is what can only best be described as crooner electro.

So imagine Matt Monro or Charles Aznavour over laid-back sophistipop backing utilising drum machines, synths and virtual orchestrations. Such are Julian Brandt’s loungey mannerisms, occasionally harmonised by Marina Schiptjenko’s larynx treatments, that the combination is strange and otherworldly yet ultimately romantic and classic.

It all begins with the ‘For Beautiful People Only’ title song, the song which is closest to being quite traditional sounding with its cinematic pomp and circumstance. ‘Someone To Cling To’ though recalls smooth PET SHOP BOYS ballads like ‘Liberation’ or even ‘Requiem in Denim & Leopardskin’ but with the orchestrated flavour of Percy Faith. Though ‘Vintage Wine’ follows a not entirely dissimilar feel, Brandt enunciates more like a Scandinavian Neil Hannon.

Heading to the South of France, ‘Destination Cannes’ is a great instrumental which captures exactly what it says on the tin while ‘Full Moon Over St Tropez’ conjures up that understated but catchy Gallic quality. The dashing ‘Hello Darling’ makes good use of synths and vocoders as well as adding a surprise rap from an alluring Schiptjenko.

But featuring a beautiful string line and a music box motif, ‘Girl In The Gallery’ could actually be about Schiptjenko herself, a playful celebration by Brandt of the enigmatic art curator with key changes to boot.

Brandt’s delivery recalls the late Liverpudlian crooner Michael Holliday on his hit ‘Starry Eyed’, a 1960 UK No1 co-written by Moog pioneer Mort Garson and later covered by CHINA CRISIS.

Despite its title, ‘Saddest Girl’ is enormously sunny and uplifting with hints of Hollywood Elvis, but ‘Love On A Summer Night’ offers a subtle disco duet which could be another PET SHOP BOYS collaboration with Patsy Kensit that also throws in a synthetic brass section for a more robotic style of ‘Domino Dancing’.

With a piano and soprano sax providing a twist in the electronic backdrop, ’Going To Nice’ closes the album with a happy optimistic vibe like all the good film romances should.

This is an enjoyable Eurocentric album with a sumptuous aural palette. If you can appreciate the guilty pleasures of classic easy listening, then on days like these , ‘For Beautiful People Only’ is the perfect escapist album for a trip along the Riviera.

Those wanting darkness, doom and edge though should turn away now…


‘For Beautiful People Only’ is available via the usual digital platforms

http://julianbrandt.com

https://www.facebook.com/JulianandMarina/

https://www.instagram.com/julianochmarina/

https://open.spotify.com/artist/3BzeqZj5Gziti68PyLLr4J


Text by Chi Ming Lai
Photos  by Pierre Björk and Conny Fornbäck
15th February 2020

LUSTANS LAKEJER + PAGE Live in Malmö

Two of Sweden’s best loved acts of a more synthy disposition LUSTANS LAKEJER and PAGE gathered together at Malmö’s Babel for a celebration of classic songs and artistic progression.

Located in the shell of an old brick-built church, while Babel’s soundsystem and views of the stage were superb, its tedious entrance infrastructure left a lot to be desired as a large number of music fans were still left queuing in the rain as the evening’s music proceedings began.

PAGE released their first single ‘Dansande Man’ in 1983 and while line-ups have varied over the decades, the duo of Eddie Bengtsson and Marina Schiptjenko is universally seen as the classic incarnation. But while Bengtsson has often been considered Sweden’s answer to Vince Clarke, more recently he has been re-exploring the post-punk synth innovations of TUBEWAY ARMY and ULTRAVOX.

2017’s ‘Det Är Ingen Vacker Värld Men Det Råkar Vara Så Det Ser Ut’ even featured a cover of ‘Tracks’, but it was 2018’s ‘Start’ EP and the new album ‘Fakta För Alla’ that saw PAGE totally get into the Moog.

And it was to a smoke machine on overdrive that Bengtsson and Schiptjenko arrived on stage for a lively poptronica set mined mainly from those three releases.

‘Krasch’ and the ‘Fakta För Alla’ title song set the scene and armed with a Little Phatty and Sub 37 respectively, Bengtsson and Schiptjenko indulged in a spot of delightful Moog wars with oscillators set to stun. ‘Kloner’ and ‘Start’ continued the riff laden pleasure of principle while with washes of string machine and piercing vibrato, ‘Blöder Du’ came over more introspective.

‘Som ett skal’ from 2014’s ‘Hemma’ and ‘Kom så andas vi’ from the 2010 comeback record ‘Nu’ illustrated PAGE’s enduring knack for a good synth tune, while the more recent ‘Första Smällen’ provided some spritely poptronica to continue that tradition

But when Bengtsson went to reimagine Gary Numan meeting Billy Currie on ‘Puls’ with his Sub Phatty on an ARP Odyssey aping setting, the keyboard was just slightly too off-tune to continue playing it. Despite playing only 21st Century PAGE material, the duo finally conceded with an oldie in ‘Förlåt’ from 1995, its space march chants drawing participation and appreciation from the audience to close their set.

Although PAGE’s set attracted a good attendance despite the delays of getting into the venue, it began to pack considerably as the pre-show music offered the likes of VISAGE, DEPECHE MODE and THE HUMAN LEAGUE, with the crowd comprising of old and new romantics, the presence of young Lustans Lookalikes being very much in evidence.

While Johan Kinde is the only founder member of LUSTANS LAKEJER, he was accompanied by drummer Christer Hellman who played on their gold third long player ‘En plats i solen’ produced by Richard Barbieri of JAPAN.

Meanwhile, there was also long standing sidemen bassist Julian Brandt and Anders Ericson on guitar, plus keyboardist Tom Wolgers who joined in 1981 for their second album ‘Uppdrag i Genève’ and took the band in a more electronic direction, before returning the fold in 1999.

The mature quintet were augmented by two younger keyboard players Fredrik Hermansson and Lisa Lindal, the latter also providing some sumptuous backing vocals. Tonight’s set was to celebrate the 20th Anniversary of ‘Åkersberga’, LUSTANS LAKEJER’s comeback album which saw Kinde adopt a more crooner friendly, laid back demeanour.

Opening song ‘En kvinnokarls död’ evoked the cinematic moods of a Nordic Noir drama, while the brilliant ‘Cynisk’ realised Kinde’s concept of what Barry White would sound like reinterpreting ‘Walking In My Shoes’ by DEPECHE MODE, complete with guitar solo.

The epically orchestrated ‘För njutningen, för spänningen’ captivated with its chanson influences but spicing up the tempo, ‘Vackra Djur Gör Fula Saker’ pulsed like ULTRAVOX in recognition of the classic unga moderna template which made LUSTANS LAKEJER’s one of the most popular bands in Sweden.

‘Här & Nu’ played with stylish Svenka reggae with Julian Brandt particularly starring, but the rhythmic ‘Som en dröm’ brought in a Mediterranean tinged dance flavour which set the hearts racing.

Meanwhile, indulging in some Scott Walker fantasies and referencing the mannerisms of ‘Deadlier Than The Male’, detuned synth arpeggios provided an interesting avant counterpoint to Kinde’s smoother vocal overtones on ‘Begär har förgiftat mitt blod’.

The Latin template returned for the bossa nova driven ‘En natt som denna natt’ before closing the ‘Åkersberga’ segment of the set with the filmic ballad ‘Samma gamla sång’. The Babel had no backstage area as such, so rather than trudge through the audience and return again for the encore routine, LUSTANS LAKEJER retained their positions for a performance of old favourites.

‘En Främlings Ögon’ from ‘En Plats I Solen’ exuded its JAPAN influence with its ring modulated synths and Hellman’s distinctive Simmons drum mantra, while the superb sequencer driven ‘Diamanter’ partied like it was 1982, drawing one of the biggest cheers and the first audience singalong of its evening.

Kinde even threw in a few of his old New Romantic arm sways and in an amusing S&M bromance with Anders Ericson, percussively whipped him to a frenzy!

A new synth dominated song ‘Svarta segel’ got its live premiere and with its dark lyrical gist, reflected on the current madness in world politics.

Launching with the distinctive clatter of a Compurythm, ‘Stilla nätter’ allowed Kinde to revisit his earlier Sylvian-Le Bon cross while from the same ‘Uppdrag I Genève’ long player, the more frantic electro ‘Män av skugga’ amusingly came over a bit like finding Jona Lewie having a party in Ikea.

Finishing the evening with the marvellous syncopated disco of ‘Rendez-Vous I Rio’, it was a reminder as to how LUSTANS LAKEJER laid claim to releasing a song referencing Brazil’s second-most populous municipality before DURAN DURAN.

In all, it was a glorious evening featuring the best in classic Swedish pop as influenced by Synth Britannia, rich in hooks, tunes, melodies and mood without the need for a translator; tack tack! 🇸🇪😀


LUSTANS LAKEJER ‘Åkersberga’ is reissued as a vinyl LP, available via their Facebook page

https://www.facebook.com/LustansLakejer/

https://www.instagram.com/lustanslakejerofficial/

https://open.spotify.com/artist/3oB3e3MPyQBX5NttDmNUNN

PAGE ‘Fakta För Alla’ is released by Energy Rekords as a CD and vinyl LP, available from https://hotstuff.se/page/x-7640

https://www.facebook.com/PageElektroniskPop

https://www.instagram.com/page_svensk_pop/

https://open.spotify.com/album/6LvrfFcS2FXlRiQBrRtpvp?si=4rkmExzsQ_ecq0MaSNUp_Q


Text by Chi Ming Lai
Page Photos by Simon Helm
Lustans Lakejer Photos by Petter Duvander
4th October 2019

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